Mannerism in Florence and Rome
- considered to be more self- consciously "artificial"
- derived from aspects of Raphael and Michelangelo
- cold formalism was considered to be inner vision
Rosso
- (1494-1540), Italian painter, whose early works helped define Italian mannerism
- later was a founder of French mannerism
- was born Giovanni Battista di Jacopo di Guasparre in Florence
- early work had odd perspectives, violent colors, and harsh lighting
- 1523 Rosso moved to Rome, where he was influenced by Italian artist Michelangelo and Italian mannerist painter Parmigianino
- work then acquired new beauty and expressed more tempered emotions
Pontormo
- (1494-1557), Italian painter, whose style is marked by elongated forms, heightened emotion, and tension between figures and space
- Born in Pontormo, he worked chiefly in Florence
- initially assisted Florentine painter Andrea del Sarto and later did much work for the ruling Medici family.
Parmigianino
- (1503-1540), Italian painter and etcher, whose work is among the most graceful and elegant of the school of mannerism
- born Girolamo Francesco Maria Mazzola, or Mazzuoli, in Parma
- influenced by Italian painter Correggio and Roman painter Raphael
Self Portrait
- looked through a mirror as done before in previous times
- used leonardo's type of sfumato
- hand is much bigger than reality of it
Bronzino
- (1503-1572), Italian painter, the outstanding artist of the Tuscan High Mannerist style
- produced portraits and religious pictures
- style is cold, refined, aristocratic, and technically brilliant in its rendering of surface details and colors
- display the typical mannerist characteristics of elongated forms and crowded, angular compositions...
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...eam in which the psyche retreats into womb like sanctuary
- principle difference lies in approach
- uses symbol in nature
Leonard
Romanticism is Ultimately Fatal
- suggest meaning that is personal
- turtures erotisicm
- no romantic knight in shining armor
Artists as Photographs
Hockney
Gregory Watching the Snow Fall, Kyoto, Feb. 21
- discrete eye movement containing a piece of visual data
- gaps in the matrix of the image
- fragmentary to its edge through the loss of acuity
- resulting shape of collage is masterpiece of design
- establish our position clearly
- viewers view of psychological relationship surrounding the world
Lemieux
Truth
- image about sound or the lack of it
- visual counterpart to saying " Hear no evil, speak no evil, see no evil"
- used a process known as deconstruction
- truth emerges a matter of relative perspective
In the Florence and the early renaissance, we have the greatest master of art like Leonardo da Vinci, Michelangelo, Sandro Botticelli and others. In this period of time the painters almost never show their emotions or feelings, they were more focused on indulging the churches and the wealthy people. In The renaissance period the art provides the work of art with ideal, intangible qualities, giving it a beauty and significance greater and more permanent than that actually found in the modern art. Florence and the early renaissance, the art become very valued where every artist was trying to create art forms consistent with the appearance of the beauty or elegance in a natural perspective. However, Renaissance art seems to focus more on the human as an individual, while Wayne White art takes a broader picture with no humans whatsoever; Wayne, modern three dimensional arts often utilizes a style of painting more abstract than Renaissance art. At this point in the semester these two aspects of abstract painting and the early renaissance artwork have significant roles in the paintings. Wayne White brings unrealistic concepts that provoke a new theme of art, but nevertheless the artistic creations of the piece of art during early renaissance still represent the highest of attainment in the history of
In the traditional political history of Italy the people outside of the ruling class of the society were rarely studied. Only with the use of social history did the issues of class and gender begin to be debated by scholars. Numerous recent articles have done a great job of analysing particularly men of high status. In this paper I will look at the lower classes of Renaissance Florence. More specifically, I will center my focus on the lives of women during this era, how they were treated and viewed by people of other classes and how women were viewed and treated by men.
Andrea Schiavone devised a strategy to distinguish himself from the master painters before him. This style is marked by a sense on incompleteness and feathery brushwork. The painting The Marriage of Cupid and Psyche shows Schiavone at his best because it is the perfect example of the harmony between Titian and Parmigianino. The sinuous lines depicted in the painting give it a lot of sex appeal, while his heavy-duty paint handling keeps it from cloying. In this work Schiavone forces you think past the accepted notions of what is right, and instead focus on the beauty that lies past right and wrong. The painting itself is of Venetian origins, dating back to 1550. It is composed of oil on wood and it was originally octagonal in shape. The corners were add...
Donato di Niccolò di Betto Bardi better known as, Donatello, was an artist during the Renaissance art movement. He
the basis for much of the style and aims of the later High Renaissance. He was actively
In 1597 he was appointed to decorate the Contarelli Chapel in the Church of San Luigi dei Francesi in Rome. This opportunity helped present Caravaggio as a painter who paint his subjects with natural flaws and human like qualities instead of celestial qualities. This commissi...
Donatello is another great artist during this time even though his genre was different from Botticelli, however in his field he was the best during this period. Donatello would sculpt "thing in his own vivid and revolutionary way." Donatello was one that didn't care about lines or proportion he was one that worked directly with the material at hand. One of Donatello's first known sculpt...
Interestingly, he also refers to Donatello as a ‘craftsman’. The correlation between the artist or sculptor and craftsman is an important aspect in Italian Renaissance art. The craftsman was something more than just an artist. This person was talented and considered by others in Italian Renaissance society as exceptional or as Vasari’s title suggests, ‘the most excellent’. They were also tradespeople rather than just artists. This is because they created works for other people, which often meant they expressed other people’s ideas. Through an analysis of Vasari’s biography on Donatello, this essay will explore the importance of culture in Renaissance Italian society, an examination of Vasari’s biography of Donatello as a historical document and the ways in which Vasari portrays Donatello, which ultimately was significant for future Renaissance craftsmen. This paper will analyze the life of Donatello through Vasari’s The Lives of the Most Excellent Painters, Sculptors and Architects to show the importance of Donatello not only as an artist but also as a
The Renaissance was a cultural movement that spanned the period roughly from the 14th to the 17th century, beginning in Italy in the Late Middle Ages and later spreading to the rest of Europe. Renaissance art was perceived as a "rebirth of ancient traditions", transforming the tradition by the absorption of recent developments in the art of Northern Europe by application of contemporary scientific knowledge. Many famous artists would emerge around this time, including Michelangelo Buonarroti, Leonardo Da Vinci, and Raphael de Sanzio. The Renaissance provided and environment for many artists to thrive and succeed. In addition to some artists gaining popularity, others who weren't as well-known still had flourishing careers; one of which was Antonio Da Correggio. Born in a small town near Reggio Emilia, Antonio's passion for art expanded naturally, and bloomed in its native soil. By 1516, Corregio was in Parma, where he generally remained for the rest of his career. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Corregio prefigured the Rococo art of the 18th Century. Although he isn't as well-known and appreciated for his contribution to the Renaissance, "Correggio is an enigmatic and eclectic artist, and it is not always possible to identify a stylistic link between his paintings. He appears to have emerged out of no major apprenticeship, and to have had little immediate influence in terms of apprenticed successors, but his works are now considered to have been revolutionary and influential on subsequent artists" (1).
The paintings by Duccio and Giotto firmly set in place a benchmark for where artwork in the years around 1300 began to develop. These artworks show how paintings began to evolve into more symbolic, naturalistic, and dramatic scenes, depicting events in life and religion. The paintings of Duccio and Giotto are similar in the sense that their paintings were then, in the sense of more modern words, “special effects” of their time. They show vivid colors with meaning and symbolism, atmospheric characters that exist in space, and composition that is well thought out. Overall, these two artists become a pinnacle of art that illustrates Italian paintings in the years around 1300.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the
There were many famous artist back then. One of the most well-known artist was Leonardo da Vinci. Leonardo da Vinci was born on April 15, 1452 near a village called Vinci. Vinci was located in Italy and was about twenty-five miles away from Florence (“Leonardo da Vinci Biography.”). His parents are Ser Piero da Vinci and Caterina. Ser Piero da Vinci was Leonardo’s father, his occupation was a notary. Caterina was Leonardo’s mother, she was just a local woman that no one really knew about. Caterina and Ser Piero were not married and Leonardo was the only child they had together. Leonardo was not only an artist but he had focused on other studies such as science and technology.
Peter Paul Ruben’s art is a combination of the traditional Flemish realism with the classicizing tendencies of the Italian Renaissance style. Peter Paul Rubens had the cunning ability to infuse his own incredible vigor into a potent and extravagant style that came to define Baroque art movement of the 17th century. “Baroque art characterized by violent movement, strong emotion, and dramatic lighting and coloring.” The figures in his paintings create a permeating sense of kinetic lifelike movement, while maintaining the appearance of being grand in stature yet composed.
The Medici Family was one of the most powerful families of Renaissance Florence. They were a banking family. The first Medici bank, started by Giovanni di Becci de’ Medici, was a small scale business run in the bathroom. The bank grew through Giovanni’s extraordinary salesmanship and financial caution (PBS: Godfathers of the Renaissance). He gave out loans to those who they believed would help the bank persevere and thrive. Known as patrons of the arts, the Medici family funded and encouraged art by Botticelli, Brunelleschi, and Michelangelo. Consequential members of the family such as Giovanni de’ Medici, Cosimo de’ Medici, Lorenzo de’ Medici, and Ferdinando I de’ Medici helped to increase the affluence of Florence during the Renaissance.
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...